Excerpt from Illustrated Catalogue of the Very Valuable Paintings by Ancient and Modern Masters Collected by the Late Ferdinand Hermann, New York City: To Be Sold at Unrestricted Public Sale by Direction of Bernhard F. Hermann, David T. Davis and Arthur M. Hess, Executors of the Late Sara Hermann, Widow of Ferdinand Hermann, in the Grand Ballroom of the Plaza Hotel It will readily be conceded that the pictures described herein, and which compose the collection of the late Mr. And Mrs. Ferdi nand Hermann, cover a surprisingly wide range both in chro nology and in choice of subject. Where a painting is obviously autograph there is no need of a signature, although it will impart an added interest to the work of art. And a remarkably large proportion of the pictures in this collection are signed. We here find but a single example of Italian art, a Ma donna by Sano di Pietro. By its recent exhibition it has stood the test of public consideration and critical analysis at the hands of the experts. Frost-bound formalism of ecclesiastical restric tion is the dominant feature of Byzantine art, yet the small and later Tabernacle before us is unusually gay in color. In the representative triptych by Albert Bouts, and in the two small works by the Master of Cappenberg the primitive aspect of Netherlandish expression is clear to see. Another, and rather different phase is provided for the student in the picture now rightly assigned to the Master of the Death of Mary. An echo of the Renaissance reaches us in the art of Rubens, Frans Fourbus the Elder and David Teniers the Younger. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.